• Title/Summary/Keyword: Cultural Text

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A Study on Chinese Utopia Literature - TaohuaYuanji & Renmiantaohua ('대동(大同)'과 '도화원(桃花源)'이후 유토피아는 어떻게 재현되는가 - 격비(格非)의 「인면도화(人面桃花)」에 대한 일고(一考))

  • Kim, Kyung-Seog
    • Cross-Cultural Studies
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    • v.42
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    • pp.7-22
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    • 2016
  • Since the Taoyuanming of Confucius an Arcadia (Taohuayuan), utopia imagined in China has continued to this day. Such utopian imagination has been shaped by a variety of literary texts. These works depict the human desires and frustrations that form the utopian imagination. Typically, an Arcadia (Taohuayuan) has been recognized as a symbol of East Asian utopia. An Arcadia (Taohuayuan) anarchism is the utopian character of this small country, based on sensitization of the Lao strong. An Arcadia (Taohuayuan) world ruling class does not exist. But Confucius thought a utopian world is possible to imagine on the premise of 'Virtuous Policy' (德治). By the late Qing Dynasty (淸末), Kangyouwei (康有爲) had written and presented a utopia realized through the system of the "East-West stand." The literary text on utopia information in continued to experiment with implementation of the 'imagined' in the literature as "reality" of everyday life, immediately following the 1911 revolution in the People's Republic of China. As an Avant garde writer, Gefei's "Renmiantaohua" was influenced by the reflexive nature of the report on the point of the experiment. Gefei's "Renmiantaohua" has been rated as an outstanding work depicting the implementation process and the frustration of the utopian imagination. He is an inspiration to vanguard artists who focus on the desire and the frustration of the utopian imagination through the "Renmiantaohua" myths and stories that are comparable to the Sijipuseu story, which in itself perpetuates utopia in literature. In this paper, we explored the trails to implementation of a utopian imagination that has persisted since the ancient Chinese in current literary text. An Arcadia (Taohuayuan) of Confucius and Taoyuanming accompanied Gefei in the 21st century in describing the process of desire and frustration to realize utopia through a variety of traditional shape figures among other favorites. The author interprets those frustrations and desires of the human life course as just utopian imagination.

A Bibliographical and Literary Research on the Xinxu(新序) of the Published edition in Joseon (조선간본(朝鮮刊本) 『유향신서(劉向新序)』의 서지·문헌 연구)

  • You, Sueng-hyun;Min, Kuan-dong
    • Cross-Cultural Studies
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    • v.51
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    • pp.257-257
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    • 2018
  • Xinxu(新序) was published in Korea by 1492. Among the existing editions, the editions that can confirm the realities are the collections of Keimyung University, the Korean Studies Central Research Institute, Kyonggi University, Hujodang(後彫堂), and the National Assembly Library of Japan. The Keimyung University's precious book is the 'first published book', and the old book is the 'later published book' which covers pages 69-70 and 71-72 of the first published book. It is the 'later published book' that has the same side inscribed. The second books, the Central Research Institute of Korea Studies and the Kyonggi University Collection are the first published books, and the Hujodang and the National Assembly Library of Japan are on pages 9-10, 63-64, 87-88, 107-108. The corresponding side is the 'later published book'. Comparing the editions, it can be concluded that the existing editions of the previous editions have been withdrawn two times, and in the latter editions, the existing editions of four editions can also be confirmed to have been edited three times. In this paper, the literature based on the existing editions was studied and features of the Korean edition were presented. First, we examine the types of paragraphs. In principle, the text is composed of '11 lines and 18 characters', but on the actual version, the number of characters is shown in the table. In the Korean edition of the Joseon dynasty, a blank space appears in the original text. The erroneous letter in the Joseon book was identified the reason for the error was explained in detail.

Stepmother Narrative from Southern Buddhist Texts to Root Folklore Affiliated with Northern Buddhist Texts and Formation Course of (남전 불경계 계모형 서사의 북전 불경계 <심청전> 근원설화로의 틈입과 완판본 <심청전>의 계모형 서사 형성과정)

  • Kwon, Do-kyung
    • Cross-Cultural Studies
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    • v.44
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    • pp.147-189
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    • 2016
  • This study attempted to investigate the issue how stepmother's narrative was transferred to . For this agenda, the approach of this paper is described below to determine how Bbaengdeok's stepmother narrative was transferred episodically to . First, this paper started from the relation between stepmother narrative and affiliated with each root folk tale in Buddhist text. Among known as root folk tale until now, this paper investigated whether was the root folk tale affiliated to Buddhist literature. At that point, stepmother narrative showed relation with opening eyes motive. It has been reported that the text of opening eyes in Buddhist literature is originated from the south. This paper confirmed that 's stepmother narrative was related to Buddhist literature originated from south. Next, this paper investigated the background of opening eyes motive of stepmother types. After entering Gyeongpan , it formed Bbaengdeok narrative of Wanpan related to Literary geography of Jeollado enjoying space of Wanpan . There are two evidences for this. The first one is which was passed down around Jeollado. In the course of sudden Buddhist folklore's flow into the country, it is that combined stepmother narrative of sudden Buddhist literature with the characteristics of northern Buddhist literature which was reconstructed into son's filial behavior of northern Buddhist literature to make father's blinded eyes open. The other is the Buddhist trend of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined. It appeared that stepmother narrative was formed in the Buddhist background of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined.

Enjoyment Culture of Garden through Poet(詩) and Text(書), Painting(畵) in the 18·19th Century, Hanyang(漢陽) (시(詩)·서(書)·화(畵)를 통해 본 18·19세기 한양(漢陽)의 원림 향유문화)

  • Kim, Dong-Hyun;Choi, Jong-Hee
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.2
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    • pp.36-48
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    • 2015
  • This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

The Society Page of Newspaper of the colonized Korea, its politics of sentiment and modulation of social facts (식민지 신문 '사회면'의 감정정치 -사회적 사실들의 정치적 서사화)

  • Yoo, Sun Young
    • Korean journal of communication and information
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    • v.67
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    • pp.177-208
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    • 2014
  • This study inquires how human interest news on society section of newspapers had been modulated as multi-layered political narratives that would consistently have Koreans consider, realize and question on colonial situation as well as ethnic identity. Under totalitarian censorship of the colonial government, newspapers could not publish reports on political issues and current affairs, so society page of human interest such as crime, accident, conflict, disaster, and many kinds of sufferings of peoples to death would take great public attention and consequently be considered as a substitute of political section. Society page had enjoyed its influence on formation of public opinion of the colonized ethnic society and had maintained cultural-nationalist position ever since the founding of newspaper in mother-tongue in 1920. In colonial context, there is nothing non-political to the lives of the colonized, social facts would be necessary and happen to be modulated into a narrative that could trigger nationalist sentiment. For this end, news reporting of society section usually concentrated on aspects of 'Les Mis${\acute{e}}$rqbles', dramatic quality, and psychological factors in detail. Narrative style of news reporting got used to modulate factual informations with a proper taste of exaggeration, emotional expression, and commercial touch of exciting words. Even in a case of death by drug abuse, news was written to indicate what made him/her drive to miserable death on street, that is, what is de facto reason of all of social problems like as migration, hunger, leaving home, crime, suicide, violence, gambling, love affairs to death, adultery, and even opium habit. Those social problems and personal sufferings appeared up on newspaper 3rd page at daily base. Readers could acknowledge and identify what the real matter that should be resolved and then blame colonialism, capitalism, and militarism for those social problems. Journalists put values on inciting the colonized to realize the national and ethnic situation and feel sympathy for their people tied up by a common destiny. In this terms, news on society section of newspaper under Colonial Occupation were encoded as narratives of politically layered text and then decoded as intriguing sentiments against colonial dominance. I argue that society page of newspaper of colonial period engaged in a sort of cultural politics of sentiment and emotion which is a private area outside of imperial sight.

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A Study on the Background of the Rock-cut Sculpture of Two Buddhas Seated Side-by-Side in Wonpung-ri, Goesan (괴산 원풍리 마애이불병좌상의 조성 배경)

  • Jeong, Seongkwon
    • Korean Journal of Heritage: History & Science
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    • v.53 no.3
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    • pp.224-243
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    • 2020
  • The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10th century and the style of sculpture.

Namnyeong-wie, Yun Eui-Seon's Everyday Clothes included in Wedding Gift List in 1837 (남녕위(南寧尉) 윤의선(尹宜善)의 1837년 「혼수발기」 속 부마 편복(便服) 고찰)

  • LEE, Eunjoo
    • Korean Journal of Heritage: History & Science
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    • v.54 no.3
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    • pp.68-89
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    • 2021
  • In August 1837, a list of wedding gifts was given by Queen Sunwon (1789-1857) to her son-in-law, Namnyeong-wie, Yun Eui-Seon (1823-1887) at the wedding of Princess Deok-on (1822-1844). This Honsubalgi is now kept at the National Hangeul Museum. This text was used in the present study to examine the everyday clothes of the royal son-in-law in the early 19th century. First, the everyday clothes were organized into about 36 types. They were classified as tops, bottoms, hats, accessories, belts, pouches, fans and shoes. Second, the most important clothes were the ordinary formal attire, composed of the namgwangsa dopo and namgwangcho changui. As for the bottoms, the pants, the Chinese hemp leggings, two pairs of socks, the green silk belt, and a pair of light blue ankle ties were identified. Third, as for the head and accessories, there were heukrip, with the gemstone string and silk string, the jeong-ja-gwan and dong-pa-gwan, as well as tang-geon and bok-geon. And there were the sangtu-gwan, three types of donggos, and the mang-geon equipped with okgwanja. On the other hand, the jeong-ja-gwan and dong-pa-gwan are peculiar hats whose status has changed over time since the mid-18th century. The fact that the jeong-ja-gwan and dong-pa-gwan were given to Namnyeong-wie showed that the status of these hats improved in the early reign of King Heonjong. The belt was given with the sejodae that is suitable for the dangsang, the coral plates, and the silk bag containing a flint pouch. Fourth, there were the red-colored sejodae, a ssamji silk pouch for flint and the fan decorated with okseonchu, and shoes, such as unhye and danghye.

Mid-Silla Buddhist Art of Bunhwangsa Temple Seen through the Record of Samgukyusa (『삼국유사』를 통해 본 분황사(芬皇寺)의 중대신라 불교미술)

  • Choe, Song-eun
    • Korean Journal of Heritage: History & Science
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    • v.47 no.4
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    • pp.136-161
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    • 2014
  • This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.

A Study on The heroic side and the features of the classic novel Historical significance (고소설에 표출된 영웅의 양상과 그 역사적 의미 - <최고운전>, <전우치전>, <전관산전>, <일념홍>, <여영웅>을 중심으로 -)

  • Jo, sang-woo
    • (The)Study of the Eastern Classic
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    • no.71
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    • pp.9-39
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    • 2018
  • We considered the historical significance and the individual aspects of heroes that are reflected in the historical differences between men and women expressed in the old tales. To achieve this purpose, the paper selects , , , , and as text. Their characters were then catalogued into cultural heroes-Choi ChI-won, popular heroes-Jeon Woo-chI, family heroes-Chung So-jeo, pro-Japanese enlightenment hero-Ilneyomhong and Lee Hyung-kyung. He also tried to achieve his goal by describing the historical significance of the hero's type. China and Joseon were at odds with each other, so their relationship was uncomfortable. It is at the forefront of that concerns this issue. As he was a great writer of Silla, he was able to play a leading role with Chinese writers. We needed Choi ChI-won, a cultural hero, to express our pride that Joseon has a superior culture than China. Joseon was a Confucian society with a strong anti-semitic system. Accordingly, the people were persecuted by the aristocrats for all their centers, and this required a folk hero. He is the leader of the war. Jeon Woo-chI is a real folk hero who solves the people's grudge and wishes through doctoring. As women go back to the late Joseon Dynasty, they change the way women treat men after experiencing war. For this reason, there are novels about female heroes such as <江都夢遊錄>, <朴氏傳>, and <李學士傳>. I think the writer given hope to women who are upset by incompetent men even in their work at the time. Jeongsojeo is a leading hero in the family who is more active than the female lead who is faithful to old wives, but is responsible for helping her husband. Joseon goes through the 淸日 and 露日 wars and is at the center of Japan's prosperity. Japan is the Japan-Korea Treaty of 1905 after the Japanese Resident-General of Korea after heavy emphasis put on with the politics. At this time, he published pro-Japanese newspapers and published pro-Japanese novels to highlight pro-Japanese collaborators. It is Ilneyomhong and Yeoyongwoong.

If This Brand Were a Person, or Anthropomorphism of Brands Through Packaging Stories (가설품패시인(假设品牌是人), 혹통과고사포장장품패의인화(或通过故事包装将品牌拟人化))

  • Kniazeva, Maria;Belk, Russell W.
    • Journal of Global Scholars of Marketing Science
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    • v.20 no.3
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    • pp.231-238
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    • 2010
  • The anthropomorphism of brands, defined as seeing human beings in brands (Puzakova, Kwak, and Rosereto, 2008) is the focus of this study. Specifically, the research objective is to understand the ways in which brands are rendered humanlike. By analyzing consumer readings of stories found on food product packages we intend to show how marketers and consumers humanize a spectrum of brands and create meanings. Our research question considers the possibility that a single brand may host multiple or single meanings, associations, and personalities for different consumers. We start by highlighting the theoretical and practical significance of our research, explain why we turn our attention to packages as vehicles of brand meaning transfer, then describe our qualitative methodology, discuss findings, and conclude with a discussion of managerial implications and directions for future studies. The study was designed to directly expose consumers to potential vehicles of brand meaning transfer and then engage these consumers in free verbal reflections on their perceived meanings. Specifically, we asked participants to read non-nutritional stories on selected branded food packages, in order to elicit data about received meanings. Packaging has yet to receive due attention in consumer research (Hine, 1995). Until now, attention has focused solely on its utilitarian function and has generated a body of research that has explored the impact of nutritional information and claims on consumer perceptions of products (e.g., Loureiro, McCluskey and Mittelhammer, 2002; Mazis and Raymond, 1997; Nayga, Lipinski and Savur, 1998; Wansik, 2003). An exception is a recent study that turns its attention to non-nutritional packaging narratives and treats them as cultural productions and vehicles for mythologizing the brand (Kniazeva and Belk, 2007). The next step in this stream of research is to explore how such mythologizing activity affects brand personality perception and how these perceptions relate to consumers. These are the questions that our study aimed to address. We used in-depth interviews to help overcome the limitations of quantitative studies. Our convenience sample was formed with the objective of providing demographic and psychographic diversity in order to elicit variations in consumer reflections to food packaging stories. Our informants represent middle-class residents of the US and do not exhibit extreme alternative lifestyles described by Thompson as "cultural creatives" (2004). Nine people were individually interviewed on their food consumption preferences and behavior. Participants were asked to have a look at the twelve displayed food product packages and read all the textual information on the package, after which we continued with questions that focused on the consumer interpretations of the reading material (Scott and Batra, 2003). On average, each participant reflected on 4-5 packages. Our in-depth interviews lasted one to one and a half hours each. The interviews were tape recorded and transcribed, providing 140 pages of text. The products came from local grocery stores on the West Coast of the US and represented a basic range of food product categories, including snacks, canned foods, cereals, baby foods, and tea. The data were analyzed using procedures for developing grounded theory delineated by Strauss and Corbin (1998). As a result, our study does not support the notion of one brand/one personality as assumed by prior work. Thus, we reveal multiple brand personalities peacefully cohabiting in the same brand as seen by different consumers, despite marketer attempts to create more singular brand personalities. We extend Fournier's (1998) proposition, that one's life projects shape the intensity and nature of brand relationships. We find that these life projects also affect perceived brand personifications and meanings. While Fournier provides a conceptual framework that links together consumers’ life themes (Mick and Buhl, 1992) and relational roles assigned to anthropomorphized brands, we find that consumer life projects mold both the ways in which brands are rendered humanlike and the ways in which brands connect to consumers' existential concerns. We find two modes through which brands are anthropomorphized by our participants. First, brand personalities are created by seeing them through perceived demographic, psychographic, and social characteristics that are to some degree shared by consumers. Second, brands in our study further relate to consumers' existential concerns by either being blended with consumer personalities in order to connect to them (the brand as a friend, a family member, a next door neighbor) or by distancing themselves from the brand personalities and estranging them (the brand as a used car salesman, a "bunch of executives.") By focusing on food product packages, we illuminate a very specific, widely-used, but little-researched vehicle of marketing communication: brand storytelling. Recent work that has approached packages as mythmakers, finds it increasingly challenging for marketers to produce textual stories that link the personalities of products to the personalities of those consuming them, and suggests that "a multiplicity of building material for creating desired consumer myths is what a postmodern consumer arguably needs" (Kniazeva and Belk, 2007). Used as vehicles for storytelling, food packages can exploit both rational and emotional approaches, offering consumers either a "lecture" or "drama" (Randazzo, 2006), myths (Kniazeva and Belk, 2007; Holt, 2004; Thompson, 2004), or meanings (McCracken, 2005) as necessary building blocks for anthropomorphizing their brands. The craft of giving birth to brand personalities is in the hands of writers/marketers and in the minds of readers/consumers who individually and sometimes idiosyncratically put a meaningful human face on a brand.